[33] Design for a ceiling for the drawing room, 1770, possibly executed

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Robert and James Adam office drawings
- Country houses
  - Luton Park, designs for a house and interiors including an organ case for John Crichton Stuart, 3rd Earl of Bute, c1763-72 (56)
    - Preliminary design and design for a ceiling for the drawing room, c1770, possibly executed (2)

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Reference number

SM Adam volume 12/24

Purpose

[33] Design for a ceiling for the drawing room, 1770, possibly executed

Aspect

Plan of a ceiling formed with compartments bordered with alternatively plain bands and bands of calyx, and with figurative ovals set within bands of fluting and guilloche. This is surrounded by ovals ornamented with arabesques supporting urns flanked by winged griffins, and by figurative roundels enclosed within a band of rosettes and surrounded by calyx supporting anthemia. The long sides are ornamented with semi-circular figurative panels bordered with bands of fluting and of calyx, and this is flanked by pedestals supporting urns. The ceiling is alternatively bordered with lozenges enclosing rosettes and with scrolled hearts and rosettes

Scale

bar scale of 6 inches to 10 feet

Inscribed

Cieling for the Drawing room at Luton / 24. / N (pencil) / faint pencil inscriptions / Jorchino (?) / Giallo / Bruno / Verde Chiero (?) / Verde / Rygo (?) / Violacco / faint pencil inscription and some dimensions given

Signed and dated

1770
1770

Medium and dimensions

Pen, pencil and colour washes including pink, olive green, cerulean blue, Indian red and violet on laid paper (575 x 446)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi

Literature

Bolton, 1922, Volume II, Index, p. 21
King, 2001, Volume I, pp. 122, 122 n.20
For a full list of literature references see scheme notes.

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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